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Ignore everything I've ever said, I'm on Garpocalypse's team now I guess. I'll post my sources at some point.

I'll try to finish the trailer this evening and hopefully upload it this week-end. Still need the final tracks from the last remixers!

Updated version of my FTL Milky Way Battle Remix for the Artist Appreciation Competition. I changed up a few parts from the original competition version and added some sound effects. For fun I also did a version with a rage scream by Brandon Strader. Enjoy! Remix: https://soundcloud.com/garpocalypse/ftl-fate-of-my-crew Rage Scream Version: https://soundcloud.com/garpocalypse/ftl-fate-of-my-crew-rage-scream-version Source:

Yes, the tonic ("home note") is F# in F# Dorian, since if you use that mode, you are still using the sharps in E Major, but continually going back to F# as your home note. If for some reason you start on F# at first, and then continually go back to E, you are essentially playing in E Major still. Nabeel happened to say this as well (correct me if I'm wrong):

haha those strings and timpani =P

You sure I did that? I don't remember it at all Sounds awesome though

You're misunderstanding what a key is. A key has nothing to do with your scale. Absolutely *nothing*. You can have a key center with *any* scale or mode (some need modifications when a dominant is needed). A key is defined by your tonal center. This is the "home" note, the tonic. It's what your song can end on to sound complete, and any time you need a tension-resolution in your key, you have a dominant chord lead to it (it's the major chord a perfect fourth down/perfect fifth up from the tonic. C is dominant to F, F is dominant to Bb, etc. in F# minor, the dominant is C# major). When you are in a major or minor key, it usually implies that the tonality is colored with major or minor inflections (for major, ionian, lydian, mixolydian, for minor, aeolian, dorian, phrygian). These inflections, I believe (someone correct me), are distinguished by the 3rd degree of the scale and whether it is a major or minor third above the tonic. If your song is in F# minor, you can use Aeolian, you can use Dorian, you can use Phrygian. Whatever works, however you compose the song. But just because you're using the Dorian mode doesn't make your song magically in E major. You need to tonicize E major (with a dominant a B major) if you want to be in E major. If you're using F# as your home note, you're in F#. (That being said, without ever using C# major or minor, your tonality is ambiguous and fuzzy at best). If you don't know what song your key is in, I suggest you make a decision. Decide what key you're in. Say "I want this song to be in F# minor." Then work towards that. All of this theory stuff is useless unless you think critically about your composition (the only reason theory exists is to think critically) and make conscious decisions about it. If you don't know you're in a key at any given point, you're never going to know what to do without picking random scales, and you're not going to able to change keys or switch modes reliably at all. Most importantly, you're not going to be able to grasp advice on your composition if you don't understand what you're doing. To your defense, this isn't stuff you can really learn in a forum post anyway; it takes analysis and practice. I'd suggest posting the score or MIDI, that way someone can identify what it is you're doing and help you understand it.

Not my style - but just because it's not my style doesn't mean it doesn't belong here. Props to those who decided on adding lyrics to a song I thought you couldn't add lyrics to if you tried. I'm glad this site gives people the opportunity to try something on the outer rim, even if it's not always something I like.

We literally do not "consider the fans" at any stage of the judging process, because this isn't a popularity contest, this is a creativity contest. This site also is cool with diversity. We're not actively catering to anyone's personal taste. To actually hold DPC's track (or any vocal track) back or put it in a corner because "most people prefer instrumentals"/"think of meeeee, I may not like it" is really closed-minded. Of course, you can dislike whatever you want, but we don't care anyway vis-a-vis track selection or presentation. Separate but equal? Segregation of minorities? Really? Tracks aren't people, but to me your proposal is also silly. Let's not go there. Also, so far, we've only got 266 tracks with any type of lyrics out of 3,056 ReMixes, so 91% of the site is instrumental. But are the vocals TAKING OVER? 0001-1000: 28/885: 3.16% 1001-2000: 83/992: 8.37% 2001-3000: 128/999: 12.81% 3001-3180: 27/180: 15% Hey cool, the trend IS growing. 3 out of every 20 ReMixes lately have had lyrics. 17 out of every 20 tracks being instrumental means instrumentals aren't even close to outnumbered, and that you're needlessly fixating on lyrics. Maybe by the time we reach OCR04000, lyrics will (dangerously) bump up to 16% or 17%. Try not to get too hung up on it. VGM is mostly instrumental, OCR will tip towards instrumental for as long as we're doing this, that's just the numbers. Anyway, TL;DR, you can certainly dislike anything you want, but to tell us to consider some sort of change in how any style or genre of mixes are presented... it ain't happening.

I'm pretty fond of it, actually. The vocals totally made the song. They turned it from "So bad" to "So bad it's good" in the best way possible.

I'm truly satisfied that you have 0 control over the selection process.

^ doesn't get the joke. also vocal haters are so 2005, c'mon, get with the program. I enjoyed this, especially with the Zappa-esque stylings. We need more of those around here.

That nurse's voice is so silly. This whole ReMix is silly. *KOFF KOFF KOFF KOFF WEEZ(ING)*